sexuality

Theorist ANDY MEDHURST (1998) claims that sexuality disrupt representation claims, like those made by Dyer (“How we are seen determines in part how we are treated; how we treat others on how we see them; such seeing comes from representation” Dyer, 1993), because in the REAL world you cannot ‘see’ sexuality. 

Unless someone tells you they are homosexual you have no way of knowing.
However, in the media stereotypes are used to explore ideological positions about sexuality. “Films and television comedies are full of images of gay men as effeminate screaming queens…It chooses that aspect of gay male behaviour (SELECTION), inflates it into the defining male characteristic of male homosexuality (MAGNIFICATION), then establish it as the most easily recognisable image (REDUCTION).”

what is being gay? according to the media

“The ideological implications of stereotyping are obvious, since groups most liable to be stereotyped are those with LESS social and cultural power; indeed one crucial distinction between powerful and less powerful social groups is that the former hold the ability to stereotype the latter.”

“Stereotyping becomes ideological the moment it stops being simply a method of description and becomes a vehicle for values: the image of the screaming queen does not just mean ‘all gay men are like that’, it means ‘all gay men are like that and aren’t they awful’, which in turn means ‘and they are awful because the are not like us.”

Medhurst argued this is done to make heterosexual viewers feel safe in the believe that there way of living is the only ‘natural one’. So, stereotyping for the ‘straight’ viewer makes them feel safe and superior. In addition, the embedded social norm of straight sexuality is reinforced.

“This is why stereotypes of sexuality strive so vigorously to create two, polarized sexualities, hetro and straight, and to insist with such obsessive reductiveness that people who belong to those poles are easily identifiable – hence the recurring presence across media texts of the screaming queen and his female equivalent the butch dyke.”



https://www.youtube.com/watch?v=IOXuQK0Z5-g

in this clip the character christian supports Mackillians theory because of what he is wearing and how he is portrayed in his dialog.

Gender

Laura Mulvey 1975 - "As erotic objects of desire for the characters within the story, and as erotic objects of desire for the spectator."

David Gauntlett 2002 - "images of the conventionally rugged, super-independent extra-strong macho man still circulate in popular culture."

Mackillion 2002 -  In 2002 Mackillion said males are now used in a similar way to women, in so far they are being presented as sex objects and are seen to be more image conscious and sensitive.

Media's portrayal of gender roles

How is gender portrayed in the extract of Hustle through:

Camera work                                               

Mise-en-scene

Sound

& Editing?

Theory

Link to question (gender)

In the extract of Hustle the theories of Mulvey (1975), Mackillion (2002) and Gauntlett (2002) are both supported and disrupted through the media language present in the clip. I will explore this in detail with evidence of camera work, Mise-en-scene, sound and editing contributes to conventions of gender representation.

The opening shot is a low angle medium close up of a middle ages male wearing an expensive suit and watch, the camera angle gives a sense that he is a masculine character which would fit Gauntlett’s 2002 theory but it also supports Mackillion’s theory because of the way he is standing is not a very masculine stance and he is stood as if he is waiting to be asked for help. The next shot is a close up of the younger woman’s face as she walks onto the shop floor, at the same time the non-diegetic music changes to a more feminine tune but switches back in the next shot, this supports Mulveys theory. There is continuity editing shown in those two shots to not distract the viewer.

The next shot is a cut in high angle of the shop owner, followed by a one two shot low angle of the shop owner looking at the woman and the woman looking at him, this supports Gauntlett’s theory. The music stops a bit when the characters diegetic dialog gets awkward so the viewer will also feel the sense of awkwardness. In the background of those shot the younger woman is in the background with her back to the camera, which supports Mulveys theory.

There is then a shot of the younger woman’s ring that pan to a close up of her face

Objectives:

1) You will be able to list the main sound terms.

2) You will be able to create the sound for an extract.

3) You will be able to discuss how sound contributes to representation.

TV Drama: Sound

In the examination one of the four things you will have to analyse, in terms of representation, is sound. Sound can be put into two main categories:

Diegetic Sound and Non-Diegetic Sound

Diegetic sound is 'realistic sound' where the source is visible on screen or where the source is implied to be present in the action even if the sound source is out of shot (e.g. a door slamming in another room or sirens in the distance) common examples of diegetic sound include: 

- Dialogue (characters voices)

- Sounds made by objects 

- music coming from instruments shown on screen

- ambient sound (background noise that would be present)

N.B. this links to what we discussed last week in terms of TV Drama's needing to create a realistic believable 'diegetic' world for the viewer - sound is part of the verisimilitude.

Non-diegetic sound is sound where the source is not present in the action nor looks like it is meant to be; common examples include:

- Mood music

- Dramatic sound effects that do not match the sound anything on screen would make.

- Narrators commentary.

Sound Terminology

Inside these two categories there are a number of specific terms for different types of sounds that you must be able to use in the examination when you analysis, make note on and write about the extract in terms of representation they are as follows:

Non-diegetic

Title music: theme tunes (connote genre/represent TV drama).

Score/incidental music: orchestral music used to connote tone/atmosphere.

Sound motifs: sounds associated with certain character (often a villain like the shark in Jaws) that connote something good/bad is about to happen.

Sound effects: used to connote atmosphere.

Voice over: often used to give the viewer an insight into the thoughts of a character (creating a bond between the audience and character), set the scene or progress the narrative.  

Diegetic

Synchronous sound: sounds that match what you see on screen.

Sound effects: realistic sounds that match the action on screen creating realism and/or connoting atmosphere e.g. gun shots, door opening/closing.

Dialogue: characters speaking (dialogue progresses the narrative and reveals the character's personality/views to the viewer). 

Ambient sound: natural background noise you would hear if the scene on screen were real - this is vital when creating realism.